Results found: 2

Search results

Search:
in the keywords: ART WORLD

Sort By:

Limit search:

PRAGMATISTS ON THE EVERYDAY AESTHETIC EXPERIENCE

100%

Kremer A.

ESPES

2020

vol. 9

issue 2

66 – 74

Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience (1934), Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics (1992). In this paper, I show that Dewey already refuses the gap between the practices of the ‘art world’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions.

RULE OF ART. A SHORT INTRODUCTION TO THE MUNICH ART WORLD IN THE NINETEENTH CENTURY

84%

Muthesius S.

ARS

2012

vol. 45

issue 2

126 – 142

In the 19th century Munich was one of the art capitals of Europe. Did it fit with the definition of the art world as “bohemian”? It decidedly did not if the term is understood as stressing privation and the artist’s isolation from society. However, if a more general definition of the “bohemian” art world is considered, which includes also a distinct group of bona-fide geniuses, this term could be applied aptly to the successes of the “Kunststadt” throughout the 19th century. The article traces the various constituents that characterised Munich art life, of the ways in which its principal artists, from Cornelius to Lenbach, were dubbed “Kuenstlerfuersten” and the ways they were adulated by the patrons, from the king down to the buyers of their works at the Kunstverein.

Refine search results

1 ARS

1 ESPES

1 Kremer A.

1 Muthesius S.

1 2020

1 2012

Search results

PRAGMATISTS ON THE EVERYDAY AESTHETIC EXPERIENCE

RULE OF ART. A SHORT INTRODUCTION TO THE MUNICH ART WORLD IN THE NINETEENTH CENTURY